Let’s start with wholesalers. Wholesalers like Ingram, Baker & Taylor, and Bookazine are the middlemen between you—the author or publisher—and most major book retailers. These retailers generally order books from wholesalers, which act as depots for your book. Retailers do this because it’s easier for them to order from a small number of trusted sources (wholesalers) rather than hundreds of individual authors and publishers (you). Thus, if you’re looking for national distribution to major retail channels, you generally have to be set up with a major wholesaler.

Although you may be listed with a wholesaler, it’s important to note that wholesalers generally do not market, pitch, sell, or push your book to retailers. Your title sits among thousands of other titles waiting for a retail buyer to take interest and order copies, and unless there is a compelling reason for the buyer do so, it’s unlikely that your book will be brought onto bookstore shelves.

This may be sufficient if you are not planning on marketing or publicizing your book. If, however, you are planning on aggressively marketing your book, you will want someone with connections to the national retail buyers to convince them that your title needs to be ordered from the wholesaler and put on bookstore shelves where consumers can see it, and hopefully buy it. That’s where distributors come in.
Distributors serve authors and publishers in two main functions:

1)    They set up titles with many wholesalers.

2)    They have an active sales force pitching and selling their exclusive line of titles directly to the retail buyers in the hopes of getting as many books as possible on shelves and in front of consumers.

“Why do I need a distributor to set me up with a wholesaler?” you might ask. Many wholesalers have an application process and require a minimum number of titles to be eligible. Ingram, for example, requires publishers or authors to have at least 10 titles before they will make their books available for order; if you have fewer than that, you need a distributor to get you set up in Ingram. You may also wonder, “What’s the benefit of having a someone pitch my book directly to the retailers?” As mentioned above, without someone actively and aggressively convincing buyers that your book needs to be on their shelves, in front of consumers, it will probably sit on a warehouse somewhere, never seeing the light of day. Distributors’ sales representatives often hold a certain amount of credibility in the buyers’ eyes as a trusted source of marketable, salable books. Good distributors and their sales reps are just as invested in selling your titles as you are, and their established relationships in the retail channel give you direct access to the desks of decision-makers at major retail chains.

So let’s recap: You want your book in Barnes & Noble, but you know you need to be listed with a wholesaler like Ingram before that can happen. Because you have fewer than 10 titles and are planning a publicity campaign around your book release, you realize you also need a distributor to get you into Ingram and pitch your book directly to Barnes & Noble. Your best course of action would be to hunt down a distributor who services Ingram and has a relationship with Barnes & Noble.

Clear as mud?

Understanding the fundamental differences between book wholesalers and distributors is important, but equally critical is establishing your distribution and sales goals for the book. If you’re not planning on doing any marketing to consumers and just want your book to be made available for your friends and family, a distributor probably isn’t necessary. If you’re planning on hiring a publicist and doing national media, you probably won’t get very far without one. Thinking carefully about your platform and marketing plans will help you determine realistic goals for your book’s distribution.

Rushing a book to market without understanding all the consequences of your decision is about as bright as marrying someone you meet in Las Vegas after a fifteen-hour drinking binge. Even if the reasons behind the rush seem legitimate, beware of the beer-goggle effect—your book won’t look nearly as attractive when it comes off the press as it does in your head when you’re deciding to skip vital steps in the publication process. There are three areas where rushing will come back to haunt you with particular vengeance:

Editing
Your content has to deliver the goods. Editing isn’t just about making sure your book is free of typos and grammatical errors—it’s the part of the process that focuses on sharpening the reading experience for your customers. If you don’t invest the time and money to have experienced book editors work with your book, success in this industry will be an uphill battle. Don’t try to justify your rush by duping yourself into believing that you can save time-consuming editorial work for the second edition or the next printing. Crappy books don’t go into multiple print runs or second editions. It’s like not showering before a first date and thinking that you can always wash up for the second date—unless you’re meeting the Vegas drunk from the scenario above, there’s no way you’re getting the second date, stinky. It’s worth the delay in your book launch to work with an editor who can help you develop a rock-solid title, unique hooks, a smart structure, and a compelling voice. If you rush the editorial process, you’ll compromise the integrity of your work for short-term gains. Is a goal like having books in time for one event really worth that?

Design and Printing
While powerful marketing, a strong author platform, and compelling content are essential for a book to succeed, production quality is equally important. And yet there are countless articles that downplay the importance of quality, often making the obtuse argument that anyone with Photoshop or InDesign can throw a book together in no time, or that the difference between top quality and bottom quality is negligible due to advances in technology. Both assertions are appalling fallacies. The quality of your design and printing determines what kind of first impression your book will make. Retail buyers, book reviewers, and consumer make gut decisions based on this first impression, so while good quality costs money and takes time, this is not an area in which it is okay to be either cheap or hasty.

Sales and Publicity
Sometimes, we’re at the mercy of others. Pitching your book to retail buyers and media outlets is one of those times. If you want to sell your books in bookstores or other trade outlets like Costco and Wal-Mart, know that it takes almost twelve months to get your books ready for distribution. This time is spent setting up the title in wholesale and retail systems, presenting to buyers, and preparing the logistics for an on-time launch. And there’s similar time sensitivity inherent in a proper publicity campaign. You only have one book launch, and if you don’t get advance review copies to reviewers at least four months prior to publication, your print campaign has virtually no shot at success.

Deciding to produce a book on an abbreviated timeframe may be possible from a purely logistical standpoint, but you shouldn’t rush your book launch unless you’re prepared to have a product that isn’t set up to reach its full potential. So take a breath and slow down. The book of your dreams will wait for you. If you follow the rules and wait too, the launch will be much more special. If you know what I mean.

Would you rather:

1. Not spend your own money and get paid up front
2. Pay just to print in exchange for a moderate return
3. Make a reasonable up-front investment for a higher return

Would you prefer to:

1. Let someone else handle the entire process
2. Manage the process yourself
3. Retain creative control while working with an experienced team

In terms of marketing and sales, are you more comfortable:

1. Handling your marketing, but knowing the publisher’s credibility will carry you through the distribution chain
2. Handling all of your marketing and forgoing retail distribution
3. Coordinating your marketing efforts with an organized and strategic campaign through retail and specialty distribution channels while having the option to sell directly

In terms of creating content, are you more comfortable:

1. Writing it yourself, but working with an editor to finalize it
2. Writing and editing it all yourself—I’ll hire an editor if I need one
3. Writing it yourself, but using the help of a ghost writer or an editor to organize your thoughts and save time

When it comes to design, would you rather:

1. Leave it to the pros
2. Do it yourself
3. Have creative control, but work with a skilled designer

When it comes to distribution, do you want:

1. Access to a traditional distribution chain
2. To sell them all yourself
3. A combination of traditional distribution and the ability to sell books on your own in return for the full cover price

Answer Key:

Mostly 1’s: Traditional publishing is probably the best option for you.

Mostly 2’s: Vanity, new technology, or self-publishing may be best for you.

Mostly 3’s: An independent/hybrid publisher is likely the best fit.

Regardless of which option you choose to pursue, it is vital that you protect yourself by doing your homework, taking the time to weigh the pros and cons, and analyzing  the option’s ability to help you meet your short and long-term goals. Publishing a book is a smart and crucial step toward building your brand. Take the time to do it right.

Greenleaf editor Bill Crawford sat on a panel titled “Editor Q&A: The View From Inside a Publishing House.” The panel focused on the changing world of the editorial process. One major change affecting authors, the panelists said, is the limited editorial staff available at most houses. More often than not, publishers at major houses are encouraging authors to put their work through several high- and low-level edits prior to submission. Many editors encouraged authors to hire their own editors to polish their work—as long as they make sure the editors are qualified and reasonably priced.

According to Bill, editors are positive about the new media change: “No one knows where it is going, but everyone agrees it is all about the content.” Audience members were also interested in alternative publishing models, like Greenleaf’s, especially in terms of finding sponsors to support projects.

Greenleaf’s Business Development Manager, Tanya Hall, participated in the panel “Big House, Little House: What Type of Publisher is Right For You?” The panel discussed the many publishing options available to authors and how to assess which model fits the author’s needs. Tanya emphasized a few important takeaways for authors:

1. A good agent will help determine the best match for your manuscript in terms of the size of the publisher, the amount of attention you’ll get from the publisher, and the types of books the publisher has been successful with. It’s a good idea to ask a potential agent these questions before signing on with the agent.
2. Neither big houses nor little houses are automatically the best option—good publishers and bad publishers come in all sizes. Do your research before signing a contract with any house.
3. A strong sales history with a reputable small press can serve as a stepping-stone towards a bigger house.
4. Don’t be afraid to ask successful authors in your genre to recommend agents and editors.

I had the privilege of moderating two panels on social media and marketing as well as attending a very impressive keynote luncheon. The first panel I moderated was called “Why It’s Never Too Early to Start Thinking About PR.” The main point from the panel was that aspiring authors need to start engaging their platform now, even before a publisher acquires their book. Lisa Lawrence of LL PR Media and Public Relations shared three things to consider before you start marketing:

1. Know how you can position yourself as an expert. It’s important to do a self-analysis to know your strengths and how you can leverage them.
2. Know your audience and tailor your message accordingly.
3. Identify your key message(s) and stick to it (or them).

Marilyn Carter, a freelance marketing and communications expert, also brought up a good point regarding marketing. She suggests that authors not focus solely on traditional media sources such as journalists and reporters, but also on other outlets such as individuals, organizations, and other non-media outlets. Such outlets provide unique opportunities to engage with your audience.  Jennifer Hill Robenalt of Robin Hill Media stressed the importance of incorporating video into author marketing efforts. Not only is video a quickly and easily consumed media stream—it’s also a great way to demonstrate your speaking and interview skills to potential media outlets and event coordinators.

The second panel I moderated was called “Social Media: How to Make It Work for You—Rather Than You Working for It.” Rusty Shelton of Shelton Interactive, started the conversation by stating, “Social media is more about what you’re saying than where you are saying it. It’s so important to set yourself as a resource online and to think about what value you can bring to people about a specific topic.” Jennifer Hill emphasized that consistency—not necessarily quantity—is key.

BookRix US representative Scott Allen likened social media to more traditional forms of communication, saying, “It’s just another communications tool, and you use it just like you would the phone or mail.” He also advised authors to make sure that the content they post is appropriate for the context or medium used. What works on Twitter does not work on LinkedIn and vice versa. Panelists also stressed that social media is a two-way street—in other words, authors should not look at it as a billboard, but as a way of starting a conversation with people who are interested in your topic.

Lynn Reardon, author of Beyond the Homestretch, stressed the importance of being natural and conversational in the social media setting. As an author, she built an impressive social media following and platform without purposefully implementing a marketing strategy. Her approach entailed simply commenting on things of interest to her and that were also relevant to the topic of her book. All panelists agreed that authors should test to see what works best for them and be realistic about their time restraints, only committing themselves to efforts they know they can manage.

The keynote speech delivered by Calvert Morgan, editorial director at Harper Perennial, not only provided a witty and poignant look at the state of the publishing industry, but also gave authors insight as to what they can do to build their careers. Morgan acknowledged the tendency of publishers to pursue big hits rather than sustainable growth and likened the process to a cross between “a venture capitalist and a drunken gambler” throwing all of his or her money at a dream. He also recognized the challenges facing the industry, saying, “We have secured the storm windows and built an ark in the shape of an iPad.”

In addition to his satirical observations, Morgan offered authors a list of the ten things they need to find in order to build their careers:

1. Find time to write: Authors should “turn it into a bad habit.”
2. Find the off button on your television: Eliminate distractions.
3. Find your way to a good bookstore: Connect with readers, booksellers, and see what’s selling in your genre.
4. Find a new writer who impresses you and do it over and over: Move beyond the bestsellers to discover other great voices.
5. Find a way to understand why that writer inspires you: Learn the techniques they use to communicate.
6. Find a reader you can trust: Not your mom or your spouse, but a critical and constructive source.
7. Find a community both online and off: Engage with your audience.
8. Find an agent or publisher who believes in you: They should advocate for you.
9. Find an editor who understands you: Make sure it is someone you can work with and who gets your voice.

10. Find patience and be helpful to others: Publishing is a collaborative process—treat it like a partnership.

Overall, the conference provided many great tips, plus opportunities for authors and publishing professionals to engage in open and honest dialogue. The biggest takeaway by far is that, yes, the industry is changing—but that doesn’t mean doom and gloom for the printed word. In fact, it represents opportunity for those authors and publishers who are able to adapt and who continue to produce superior content.

Many publishers recognize the need to engage in social media and interact with the public. It’s an excellent way to get constant market information and to generate buzz for publications. Beyond publicity, a few publishers provide resources for authors and readers including things such as tips on running a book club, teaching concepts from books in a classroom setting, and developing an author platform. All are concerned with connecting their efforts to book sales or author acquisitions.

We are very interested to hear what you have to say. What do you expect from a publisher in the social media sphere? Should publishers cater to authors or to readers—or both? Give us your thoughts.

What’s a power team? A familiar term among business networking professionals, a power team is comprised of individuals and/or businesses with whom you share common goals or a common client base.

How can it help you as an author? The members of your power team can help you improve your strategy, connect with more readers, identify more opportunities, hone your message, and expand your reach.

Lets look at key members of an author power team and how they help you build your career:

• Publisher: Your publisher is an industry insider. If you have chosen wisely, your publisher should have a track record of producing successful books in your genre and should be able to provide you with tips and insights to help you not only get on bookshelves, but also get in front of readers. Keep your contacts at the publisher in the loop so they are aware of all of your marketing efforts and publicity. This helps them keep your book stocked when and where it needs to be available. They can also give you feedback on publishing best practices.
• Publicist: A publicist helps you develop your marketing strategy and puts you in front of big media—radio, television, print, and online. A publicist also helps you hone your message and clarify your brand so you can reach readers. They have spent years cultivating relationships with media and industry professionals and have access to contacts you may not be able to reach on your own.
• Other Authors in Your Genre: Wait—they’re your competition, right? Not necessarily. If you have differentiated yourself well, your work will stand out when compared to other authors’ work. Each author has something unique to give to the reader, but authors in the same genre share the same audience and are marketing to the same people. If you have been growing your platform and marketing your book, you should already have a following. Pull your efforts together with another author doing the same and you can double the strength of your platform and gain twice the reach. Adding another author increases your reach that much more.
• Bloggers: Bloggers who write about your topic or genre also share marketing time with your audience. They often have an open dialogue with a following that listens to their advice and trusts their recommendations. Develop relationships with bloggers in your category, offer to write guest posts, give free review copies of your book, share links, or come up with cross-promotional activities.
• Industry Gurus: No matter what topic or genre your book covers, there will be some movers and shakers already hustling and bustling about. Cultivate a relationship with these people. They’re connected and know what your readers are looking for. They can get you into events and speaking engagements that will put you directly in front of your target audience. Plus, their opinion holds weight and can carry you deep into the hearts of your audience.

These are the primary members of your power team, but don’t be afraid to think outside the box while choosing members of your team. Each book and genre has special needs and interests that are served by many people. Aligning yourself with those people will help you engage with your audience and, in turn, sell more books.

Remember, just as with your audience, be willing to provide value before you ask for anything in return. You are looking to cultivate relationships here, not just take what you can get. Here are a few key things to remember when building your power team:

1. Be sincerely interested in the other person.
2. Find ways to help them meet their goals.
3. Be willing and able to promote and/or endorse them.
4. Relationships are a series of meaningful interactions. Make time to check in and see how they are doing, without looking for something in return.

Above all, treat them how you would want to be treated. If you are truly interested, considerate, and helpful, they will reciprocate.

Watch it through to the very end. Things are not always as they seem!

Click here to view the embedded video.

Read an interview with the creator of the video, Zoe Uffindell, on the Penguin Blog: http://bit.ly/futureofpublishing.

Pass it on.

Award-winning author Jay Lake, whose books include Green, Mainspring, Madness of a Flower, Death of a Starship and others, including multiple short stories and other projects, wrote a blog post entitled “What my publisher does for me, and why I won’t just quit” to give fellow authors and aspiring authors a firsthand glimpse of the traditional publishing process through a timeline that spans over 32 months. (That’s right, over the course of nearly three years.) While his post is partially a response to the difficulties between Macmillan and Amazon on ebook pricing (read more about that conflict at Wired.com) and the changing model of publishing in general, it is also an eye-opening explanation of the collaborative process that takes place within publishing companies to produce books in any format. And while the face of publishing (and its internal clockwork) is changing at an increasingly rapid pace, the work that goes into producing a book has stayed very much the same for large publishers.

An excerpt from his post below:

Month 16 — Editorial assistant sends hardback page proofs to author.

Month 16 — Editorial assistant receives hardback page proofs from author.

Month 17 — Typesetter makes proof changes.

Month 18 — Proofing editor reviews changes.

Month 18 — Hardback printing goes to press.

Month 19 — Hardback printing goes to warehouse.

Month 21 — Hardback printing released to distribution

Month 22 — Hardback printing goes on sale.

Month 22 — Finance issues publication check to author via agent. (Payment 3 of 3 in typical contracts today.)

Month 24 — Production editor confirms press time slot for book.

Month 24 — Production editor turns manuscript over to book designer.

Month 24 — Book designer sends mass market paperback book to typesetter.

Month 25 — Typesetter does initial layout for mass market paperback release.

Month 26 — Editorial assistant sends mass market paperback page proofs to author.

Read the full article here.

It’s hard to deny that it remains more difficult for a woman to be published and become both successful and acknowledged. But I would hope that this is a flaw which is increasingly being addressed, rather than ignored or denied. Presented with the facts—that more male writers are recognized than female ones (as in, for instance, the 2009 National Book Awards)—how exactly a publisher addresses this issue is the more interested issue.

One unique response was a move made by Marvel Comics, which is in its own right a huge publisher, and one catering almost exclusively to a male readership, often through design. Rather than continuing the same old game of “if you don’t like what we do, don’t read it,” an argument both tired and juvenile in what is becoming an increasingly sophisticated literary medium, Marvel decide to do something differently. Publishers Weekly comic book blog The Beat broke the news first with an exclusive describing the concept of Girl Comics, in which all elements are designed by women.

Whether this work will be stuff of real substance or fluff remains to be seen, with the first issue debuting in March in honor of Women’s History Month. But most people seem to remain optimistic, and are appreciative of the effort, especially in such a male-dominated area, to acknowledge and encourage women’s voices—even if they aren’t going about it in the most subtle way.

This isn’t a solution that can so neatly be applied to publishing as a whole, of course. But there are undeniably many initiatives that can be taken. Opening dialogue between publishers, agents, writers and their audiences is certainly key. An increasing focus on women as professionals in publishing—not just as writers, but as agents, editors, designers, marketers, and business managers—is a trend to embrace as well.

A brilliant example of this is Jane Friedman, CEO and Co-founder of Open Road Integrated Media, a content marketing company focusing on e-books among other forms of digital entertainment. Former CEO of HarperCollins, Jane has been a prominent member of the publishing industry for years, and her latest endeavor is embracing the future that the publishing industry is inevitably moving toward.

Certainly, too, more publishers (both mainstream and independent) should continue to accept and encourage new female voices. The organization Women in Publishing has dedicated themselves to this particular mission. And as the platforms for sharing information continue to widen, including breakthroughs in self-publishing and digital distribution, technology paves the way for an increasingly equal playing field where the best man or woman may win.